March is the month of the Irish, as am I. Irish, that is. My ancestors hail from Ireland and Scotland, with a little German thrown in. My father's name is Lawrence J Houston, no period after the J. Houston is pronounced, "How-ston" and if you pronounce it with the "ew" sound in the middle, he gets his ire up. Kind of funny, if you consider that we were raised in the proud state of Texas, and under the shadow of his great, great, Uncle Sam. (But that's a different story.)
Last summer, before embarking on the all consuming project of completing my MLS degree in 11 months, I was doing some research into the family tree. My father had been working diligently on finding the roots of our family until he fell ill to Parkinsons Disease, and an advanced form of Dementia, so I picked up the quest. As of now, I have traced the family to 1798 when the first of the Houstons arrived on the United States's soil. Next year, I hope to travel to the Emerald Isle and visit local libraries to do further research.
So naturally, I have chosen Ireland for my study on cultural folk tales. I have always been intrigued by the Wee Folk, the Giants, and the Pookas. The texts I chose to read are included in the works of Joseph Jacobs. His collection of Celtic Fairy Tales are retold for English children. "In re-telling them I have had no scruple in interpolating now and then a Scotch incident into an Irish variant of the same story, or vice versa. Where the translators appealed to English folklorists and scholars, I am trying to attract English children. They translated; I endeavoured to transfer. In short, I have tried to put myself into the position of an ollamh or sheenachie familiar with both forms of Gaelic, and anxious to put his stories in the best way to attract English children. I trust I shall be forgiven by Celtic scholars for the changes I have had to make to effect this end (Jacobs 2010)."
Several of the children's books reviewed on this page are retellings of the tales in the Jacobs collection and provide a contrast between the original tale and the newer, more simplistic versions. I hope you enjoy the journey as we look at the retelling of some classic tales.
Book Jacket from Kirkus Review
Bibliography:
DePaola, Tomie. Jamie O'Rourke and the Big Potato. 1992. 32p. Penguin Putnam. $6.99 (0698116038)
My review: Tomie dePaola is known for his retelling of indigenous folk tales. He researches both culture and history before embarking on a new work (Elleman 1999). In this book, Jamie O'Rourke and the Big Potato, Mr. dePaola borrows the surname, O'Rourke, from the Yeats Pooka stories and includes traditional names such as Jamie and Eileen from other Irish tales (Yeats 1994). The colorful illustrations in this book are well-thought out and lend a cultural authenticity to the work. Known for his seemingly simple, yet intricate watercolors, dePaola uses the colors and patterns of Ireland in the characters' clothing, and details such as stone-on-stone construction for the thatched-roof houses. His depiction of Jamie in his night dress, worn farm boots, overcoat, and traditional hat is comical while the leprechaun, and the fairy shoes he is mending, are drawn with stereotypical detail. While this is not a retelling of any of the folklore that I was able to uncover, the theme of a leprechaun outsmarting a lazy or dimwitted person is present, but in true Tomi dePaola style, the plot twist at the end is refreshing.
Note: His companion work (not reviewed here), Jamie and the Pooka, follows the plot line of Yeat's "Kildare Pooka" in which a young boy discovers a pooka's (an animal spirit's) secret and the true, ungrateful nature of the pooka is revealed. A similar tale is included in my review of The King With Horse's Ears by Batt Burnes.
Book Jacket from Kirkus Review
Bibliography:
Climo, Shirley. The Irish Cinderlad. Illus. by Loretta Krupinski. 1996. 32p. HarperCollins. $15.95 (978-0060243961)
My Review: In The Irish Cinderlad, author Shirley Climo teams up with illustrator Loretta Krupinski to modernize and simplify the traditional Irish folk tale, "The Shee an Gannon and the Gruagach Gaire". The original tale can be downloaded from Project Gutenberg: Celtic Folk and Fairy Tales by Joseph Jacobs, illustrated by John D. Batton. In Climo's version of this Irish tale, Becan, our protagonist, is the son of a traveling peddler. His mother loves him very much and carries him around in a basket to protect him because he is very small. As he grows, the only thing that seems to grow are his feet. When Becan is 13 years old his mother dies. One day, the peddler returns home with a new bride and an instant family. (It is at this point where the story begins to resemble the traditional tale of "Cinderella".) Becan is treated with disdain by his stepmother and stepsisters and is sent out to become a cowherd by day and destined to eat the crusts of the family dinner at night. One day Becan befriends a notorious bull, and in turn, the bull begins to provide meals for Becan. By pulling a white tablecloth out of the bull's ear each day, Becan feasts by day and turns away the crumbs offered him at night. Becoming suspicious the stepmother tasks her daughters to spy on Becan to find out why he is so well-fed. They discover the secret and the stepmother decides it is time to kill and eat the bull. Becan overhears the plot and runs away from home with the bull early the next morning.
The bull and the boy travel together until it is time for the bull to die. The says, "When I am dead, you are to twist off my tail...Use it when you need my help the most...Do as I say." Becan is saddened by the loss of his friend and benefactor, but does as he is told and continues to travel. After a kind gentleman hires Becan as a herd boy, Becan defeats a giant and a dragon, eventually winning the heart of a captive princess.
Climo and Krupinski simplistically paraphrase the original tale in a way that will delight younger readers. They remain true to the Irish culture by including details such as superstitions, stone fences, red-haired characters, dragons, princesses, and magical animals. The art in the book is rich with color and Becan's ruddy and freckled face is traditionally Irish. The costumes seem to be more British than Irish, while the countryside is an accurate representation of the Emerald Isle. Overall, I was pleased with the re-telling of this lengthy Irish story.
Book Jacket from Kirkus Review
Bibliography:
Burns, Batt. The King with Horse's Ears and other Irish Folktales. Illus. by Igor Oleynikov. 2009. 96p. Sterling. $14.95. (978-1402737725)
My review: The King with Horse's Ears and other Irish Folktales is a collection of stories that author, Batt Burns, has collected from research and from hearing the tales when he was a lad in Ireland. The names of the characters are familiar and the content of the stories is true to Irish folklore. Some stories in this collection are set in the modern day, while others retain the old world setting and charm. Overall, this was not my favorite of the children's books I read for this assignment. Burns peppers Gaelic words and names throughout the stories, with pronunciation guides at the bottom of the page. A glossary explains the historical meaning of any words that may be unfamiliar to the reader. It is clear that the author has a fondness for Irish stories and hopes to endear them to his readers, but I found the endings abrupt and the stories lackluster.
The illustrations, however, are beautifully done. Igor Olynikov uses a thickened form of watercolor technique, gouache, to provide vibrant, and opaque illustrations. He then digitized the art for the book. The art reflects each setting well, especially when landscapes are depicted: the rocky crags and misty beaches carry an Irish flair.
One story, "The Boy and the Pooka" is an example of a modern day setting for the ancient tales surrounding the mysterious pooka. In this story, a young boy is sent into town to buy supplies, and is told to use the basket on the bicycle because the bag will be too heavy to balance on the handlebars. His grandmother also warns Conor that the days are short and that he should hurry home. He does as he is told, but while he is in the store his bicycle is stolen. As he begins the long journey home, tears streaming down his face because of his lost bicycle, night falls and he is confronted by a pooka (an animal shaped spirit). The pooka in this story is a huge and mysterious black dog. Conor drops the bag and falls to the ground in fear of this terrible animal. He has heard the stories of the great Black Pooka that the villagers were so afraid of. The story concludes with Conor discovering that the ancient fears are unfounded, and ends on a positive note. This combination of several old pooka tales, with its modern day setting, offers a unique take on the retelling of Irish folklore. The named location of Kenmare Bay is Irish, and the names of the characters are taken from ancient tales. The fear of pooka and the superstition surrounding that fear is also present in the story.
Book Jacket from Good Reads
Bibliography:
Shute, Linda. Clever Tom and the Leprechaun.1988 34p. HarperCollins. $38.95 (978-0688074883)
My Review: Linda Shute does not fail to delight her fans in this retelling of the "Field of Boliauns." Boliauns, also known as ragwort, is a yellow flower that fairies were said to travel on. In Clever Tom and the Leprechaun, Shute retains the original name of Tom and much of the original story line. It includes references to Irish superstitions such as the need to keep eye-contact with a leprechaun that you have trapped or it will escape. The art is humorous and contains hidden treasures that will entrance children as this picture book is shared aloud.
Personal note: Of all of the tales I read, the original--as published in Celtic Folk and Fairy Tales by Joseph Jacobs--is one of my favorite stories. The quick actions of Tom Fitzpatrick as he apprehends the leprechaun, his ability to get the leprechaun to reveal the hiding place of his gold, followed by Tom's gullibility that the leprechaun will keep his word make this a delightful read in Jacobs's original retelling.
Book Jacket from Amazon.com
Bibliography:
O'Brien, Edna. Tales for the Telling: Irish Folk and Fairy Stories. Illus. by Michael Foreman. 1986. 127p. Atheneum. $19.95. (978-0689313187)
My Review: Edna O'Brien, along with illustrator, Michael Foreman, present the tales of Ireland in a format that will be enjoyed by middle school aged students of Irish lore. The watercolor illustrations are often dark and exaggerated and younger readers might find them frightening. What I enjoyed about this collection of tales was the adherence to the original style and lilt of the Irish brogue, and the creativity of the changes made in the story lines by O'Brien. For example, the protagonist in "The Leprechaun" is a female while the protagonist in the original "Field of Boliauns" is male. The cover art depicts the story "Gilly", a wonderful retelling of "Guleesh" in which the "wee folk" trick a young boy into kidnapping the King of France's daughter to save her from a loveless marriage. Later in the story, when the princess is struck mute, Guleesh cares for her until he figures out a way to restore her speech, and they live happily ever after. Another story found here and in other works, is the story of "Finn, the biggest and bravest giant in all of Ireland." O'Brien simply titles her story, "Two Giants" and keeps the components of the original tale, "A Legend of Knockmany", in tact.
Book Jacket from School Library Journal
Bibliography:
DePaola, Tomie. Fin M'Coul: The Giant of Knockmany Hill. 1981. 32p. Holiday House. $20.00 (082340384x)
My Review: Tomie dePaola does not disappoint in his version of "A Legend of Knockmany." DePaola chooses to keep much of the original tale, while adding in details for clarification: "Oonagh then worked a charm the fairies had taught her. She took nine woolen threads, each a different color, and braided them into three braids...Now nothing she did could fail." The original Yeats version mentions the braids, but assumes the reader recognizes the braids as a fairy charm. DePaola does this throughout the book, keeping the story moving while explaining certain Irish customs or pagan beliefs. The colored ink illustrations are spot-on, with the careful attention to detail that gives the reader plenty to look at while enjoying the narrative. The art included in the page borders is inspired by Irish jewelry and other Celtic decorations.
For Further Study: Primary Irish Text Set Jacobs, Joseph. Celtic Fairy Tales. Project Gutenberg, Web. 4 February 2010.
The highlighted tales are examples of authentic tales that have been rewritten in today's English language.
I have inserted and highlighted titles of children's books below the Jacobs entry to show correlation.
(Includes the following tales:)
I. CONNLA AND THE FAIRY MAIDEN
XIV. JACK AND HIS COMRADES
II. GULEESH Tales for the Telling
XV. THE SHEE AN GANNON AND THE GRUAGACH GAIRE Irish Cinderlad
III. THE FIELD OF BOLIAUNS Clever Tom / Tales for the Telling
XVI. THE STORY-TELLER AT FAULT
IV. THE HORNED WOMEN
XVII. THE SEA-MAIDEN
V. CONAL YELLOWCLAW
XVIII. A LEGEND OF KNOCKMANY Fin M'Coul / Tales for the Telling
VI. HUDDEN AND DUDDEN AND DONALD O'NEARY
XIX. FAIR, BROWN, AND TREMBLING
VII. THE SHEPHERD OF MYDDVAI
XX. JACK AND HIS MASTER
VIII. THE SPRIGHTLY TAILOR
XXI. BETH GELLERT
IX. THE STORY OF DEIRDRE
XXII. THE TALE OF IVAN
X. MUNACHAR AND MANACHAR
XXIII. ANDREW COFFEY
XI. GOLD-TREE AND SILVER-TREE
XXIV. THE BATTLE OF THE BIRDS
XII. KING O'TOOLE AND HIS GOOSE
XXV. BREWERY OF EGGSHELLS
XIII. THE WOOING OF OLWEN
XXVI. THE LAD WITH THE GOAT-SKIN
McGarry, Mary, Ed. Great Folk Tales of Old Ireland. New York: Bell Publishing Co., 1972. Print.
This anthology is a collection of tales, told by several authors--one of which is Joseph Jacobs.
(Most of these tales are duplicated either in the Jacobs book or the Yeats work, therefore I will not provide a list of all of the entries.)
Yeats, W.B. Irish Fairy & Folk Tales. New York: Modern Library, 1994. Print Yeats, W. B. Celtic Twilight. New York: Modern Library, N.d. Project Gutenberg. Web.
These works are examinations of the literature of Ireland Folklore. Originally published in 1918, Yeats organized this book into categories providing historical notes and following them with examples of the tales. I have inserted and highlighted titles of children's books below the Yeats category to show correlation between the original tale and the newer work.
(Includes the following categories:)
The Trooping Fairies The Changelings The Merrow Solitary Fairies (The King with Horse's Ears) Ghosts Kings, Queens (The King with Horse's Ears) The Changelings
Witches Fairy Doctors T'Yeer-Na-N-Oge Saints Priests The Devil Giants (Fin / Tales for the Telling) Earls, Robbers
Kirkus Book Review. "The Irish Cinderlad." 1 April 1996. Kirkus. web. 3 April 2013.
Kirkus Book Review. "Jamie O'Rourke and the Big Potato." 20 May 2010. Kirkus. web. 3 April 2013
Kirkus Book Review. "The King With Horse's Ears And Other Irish Folktales." 15 January 2009. Kirkus. web. 3 April 2013.
McGarry, Mary, Ed. Great Folk Tales of Old Ireland. New York: Bell Publishing Co., 1972. Print.
McKeown, Marie. "Irish Folklore: Traditional Beliefs and Superstitions." 22 August 2012. Hubpages. Web. 28 March 2013.
O'Brien, Edna, Michael Foreman, Arnoldo Mondadori, and Lawrence Edwards. Tales for the Telling: Irish Folk & Fairy Stories. New York: Atheneum, 1986. Print.
Roback, Diane, and Jennifer M. Brown. "Forecasts: Children's Books." Publishers Weekly 247.3 (2000): 55. Academic Search Complete. Web. 3 Apr. 2013.
Shute, Linda. Clever Tom and the Leprechaun: An Old Irish Story. New York: Lothrop, Lee & Shepard, 1988. Print.
Stephens, James, and Arthur Rackham. Irish Fairy Tales. New York: Macmillan, 1920. Print.
Tidman, Misti. "The King With Horse's Ears And Other Irish Folktales." School Library Journal 55.3 (2009): 161-162. Academic Search Complete. Web. 3 Apr. 2013.
Vasilakis, Nancy. "Tim O'toole And The Wee Folk." Horn Book Magazine 66.4 (1990): 445. Academic Search Complete. Web. 3 Apr. 2013.
Virginia M. J. Suhr, et al. "Clever Tom And The Leprechaun (Book)." School Library Journal 35.4 (1988): 102. Academic Search Complete. Web. 3 Apr. 2013.
World Book Online InfoFinder. Banshee. 2013. web. 3 April 2013.
—Bard. 2013. web. 3 April 2013.
—Fairy. 2013. web. 3 April 2013.
—"Leprechaun." 2013. World Book. web. 3 April 2013.
Yeats, W.B. Irish Fairy & Folk Tales. New York: Modern Library, 1994. Print.
Yeats, W. B. Celtic Twilight. New York: Modern Library, N.d. Project Gutenberg. Web.
Images:
Each book jacket image was downloaded from the cited review source, or from Amazon.com and then resized using
Corel Paint Shop Pro X4.
Tales from the Emerald Isle logo was created from my personal collection using Corel Paint Shop Pro X4 and provides a hyperlink to a county map that shows the counties mentioned in the tales of Ireland.
March is the month of the Irish, as am I. Irish, that is. My ancestors hail from Ireland and Scotland, with a little German thrown in. My father's name is Lawrence J Houston, no period after the J. Houston is pronounced, "How-ston" and if you pronounce it with the "ew" sound in the middle, he gets his ire up. Kind of funny, if you consider that we were raised in the proud state of Texas, and under the shadow of his great, great, Uncle Sam. (But that's a different story.)
Last summer, before embarking on the all consuming project of completing my MLS degree in 11 months, I was doing some research into the family tree. My father had been working diligently on finding the roots of our family until he fell ill to Parkinsons Disease, and an advanced form of Dementia, so I picked up the quest. As of now, I have traced the family to 1798 when the first of the Houstons arrived on the United States's soil. Next year, I hope to travel to the Emerald Isle and visit local libraries to do further research.
So naturally, I have chosen Ireland for my study on cultural folk tales. I have always been intrigued by the Wee Folk, the Giants, and the Pookas. The texts I chose to read are included in the works of Joseph Jacobs. His collection of Celtic Fairy Tales are retold for English children. "In re-telling them I have had no scruple in interpolating now and then a Scotch incident into an Irish variant of the same story, or vice versa. Where the translators appealed to English folklorists and scholars, I am trying to attract English children. They translated; I endeavoured to transfer. In short, I have tried to put myself into the position of an ollamh or sheenachie familiar with both forms of Gaelic, and anxious to put his stories in the best way to attract English children. I trust I shall be forgiven by Celtic scholars for the changes I have had to make to effect this end (Jacobs 2010)."
Several of the children's books reviewed on this page are retellings of the tales in the Jacobs collection and provide a contrast between the original tale and the newer, more simplistic versions. I hope you enjoy the journey as we look at the retelling of some classic tales.
Bibliography:
DePaola, Tomie. Jamie O'Rourke and the Big Potato. 1992. 32p. Penguin Putnam. $6.99 (0698116038)
Tomie dePaola is known for his retelling of indigenous folk tales. He researches both culture and history before embarking on a new work (Elleman 1999). In this book, Jamie O'Rourke and the Big Potato, Mr. dePaola borrows the surname, O'Rourke, from the Yeats Pooka stories and includes traditional names such as Jamie and Eileen from other Irish tales (Yeats 1994). The colorful illustrations in this book are well-thought out and lend a cultural authenticity to the work. Known for his seemingly simple, yet intricate watercolors, dePaola uses the colors and patterns of Ireland in the characters' clothing, and details such as stone-on-stone construction for the thatched-roof houses. His depiction of Jamie in his night dress, worn farm boots, overcoat, and traditional hat is comical while the leprechaun, and the fairy shoes he is mending, are drawn with stereotypical detail. While this is not a retelling of any of the folklore that I was able to uncover, the theme of a leprechaun outsmarting a lazy or dimwitted person is present, but in true Tomi dePaola style, the plot twist at the end is refreshing.
Note: His companion work (not reviewed here), Jamie and the Pooka, follows the plot line of Yeat's "Kildare Pooka" in which a young boy discovers a pooka's (an animal spirit's) secret and the true, ungrateful nature of the pooka is revealed. A similar tale is included in my review of The King With Horse's Ears by Batt Burnes.
Bibliography:
Climo, Shirley. The Irish Cinderlad. Illus. by Loretta Krupinski. 1996. 32p. HarperCollins. $15.95 (978-0060243961)
In The Irish Cinderlad, author Shirley Climo teams up with illustrator Loretta Krupinski to modernize and simplify the traditional Irish folk tale, "The Shee an Gannon and the Gruagach Gaire". The original tale can be downloaded from Project Gutenberg: Celtic Folk and Fairy Tales by Joseph Jacobs, illustrated by John D. Batton. In Climo's version of this Irish tale, Becan, our protagonist, is the son of a traveling peddler. His mother loves him very much and carries him around in a basket to protect him because he is very small. As he grows, the only thing that seems to grow are his feet. When Becan is 13 years old his mother dies. One day, the peddler returns home with a new bride and an instant family. (It is at this point where the story begins to resemble the traditional tale of "Cinderella".) Becan is treated with disdain by his stepmother and stepsisters and is sent out to become a cowherd by day and destined to eat the crusts of the family dinner at night. One day Becan befriends a notorious bull, and in turn, the bull begins to provide meals for Becan. By pulling a white tablecloth out of the bull's ear each day, Becan feasts by day and turns away the crumbs offered him at night. Becoming suspicious the stepmother tasks her daughters to spy on Becan to find out why he is so well-fed. They discover the secret and the stepmother decides it is time to kill and eat the bull. Becan overhears the plot and runs away from home with the bull early the next morning.
The bull and the boy travel together until it is time for the bull to die. The says, "When I am dead, you are to twist off my tail...Use it when you need my help the most...Do as I say." Becan is saddened by the loss of his friend and benefactor, but does as he is told and continues to travel. After a kind gentleman hires Becan as a herd boy, Becan defeats a giant and a dragon, eventually winning the heart of a captive princess.
Climo and Krupinski simplistically paraphrase the original tale in a way that will delight younger readers. They remain true to the Irish culture by including details such as superstitions, stone fences, red-haired characters, dragons, princesses, and magical animals. The art in the book is rich with color and Becan's ruddy and freckled face is traditionally Irish. The costumes seem to be more British than Irish, while the countryside is an accurate representation of the Emerald Isle. Overall, I was pleased with the re-telling of this lengthy Irish story.
Bibliography:
Burns, Batt. The King with Horse's Ears and other Irish Folktales. Illus. by Igor Oleynikov. 2009. 96p. Sterling. $14.95. (978-1402737725)
The King with Horse's Ears and other Irish Folktales is a collection of stories that author, Batt Burns, has collected from research and from hearing the tales when he was a lad in Ireland. The names of the characters are familiar and the content of the stories is true to Irish folklore. Some stories in this collection are set in the modern day, while others retain the old world setting and charm. Overall, this was not my favorite of the children's books I read for this assignment. Burns peppers Gaelic words and names throughout the stories, with pronunciation guides at the bottom of the page. A glossary explains the historical meaning of any words that may be unfamiliar to the reader. It is clear that the author has a fondness for Irish stories and hopes to endear them to his readers, but I found the endings abrupt and the stories lackluster.
The illustrations, however, are beautifully done. Igor Olynikov uses a thickened form of watercolor technique, gouache, to provide vibrant, and opaque illustrations. He then digitized the art for the book. The art reflects each setting well, especially when landscapes are depicted: the rocky crags and misty beaches carry an Irish flair.
One story, "The Boy and the Pooka" is an example of a modern day setting for the ancient tales surrounding the mysterious pooka. In this story, a young boy is sent into town to buy supplies, and is told to use the basket on the bicycle because the bag will be too heavy to balance on the handlebars. His grandmother also warns Conor that the days are short and that he should hurry home. He does as he is told, but while he is in the store his bicycle is stolen. As he begins the long journey home, tears streaming down his face because of his lost bicycle, night falls and he is confronted by a pooka (an animal shaped spirit). The pooka in this story is a huge and mysterious black dog. Conor drops the bag and falls to the ground in fear of this terrible animal. He has heard the stories of the great Black Pooka that the villagers were so afraid of. The story concludes with Conor discovering that the ancient fears are unfounded, and ends on a positive note. This combination of several old pooka tales, with its modern day setting, offers a unique take on the retelling of Irish folklore. The named location of Kenmare Bay is Irish, and the names of the characters are taken from ancient tales. The fear of pooka and the superstition surrounding that fear is also present in the story.
Bibliography:
Shute, Linda. Clever Tom and the Leprechaun.1988 34p. HarperCollins. $38.95 (978-0688074883)
Linda Shute does not fail to delight her fans in this retelling of the "Field of Boliauns." Boliauns, also known as ragwort, is a yellow flower that fairies were said to travel on. In Clever Tom and the Leprechaun, Shute retains the original name of Tom and much of the original story line. It includes references to Irish superstitions such as the need to keep eye-contact with a leprechaun that you have trapped or it will escape. The art is humorous and contains hidden treasures that will entrance children as this picture book is shared aloud.
Personal note: Of all of the tales I read, the original--as published in Celtic Folk and Fairy Tales by Joseph Jacobs--is one of my favorite stories. The quick actions of Tom Fitzpatrick as he apprehends the leprechaun, his ability to get the leprechaun to reveal the hiding place of his gold, followed by Tom's gullibility that the leprechaun will keep his word make this a delightful read in Jacobs's original retelling.
Bibliography:
O'Brien, Edna. Tales for the Telling: Irish Folk and Fairy Stories. Illus. by Michael Foreman. 1986. 127p. Atheneum. $19.95. (978-0689313187)
Edna O'Brien, along with illustrator, Michael Foreman, present the tales of Ireland in a format that will be enjoyed by middle school aged students of Irish lore. The watercolor illustrations are often dark and exaggerated and younger readers might find them frightening. What I enjoyed about this collection of tales was the adherence to the original style and lilt of the Irish brogue, and the creativity of the changes made in the story lines by O'Brien. For example, the protagonist in "The Leprechaun" is a female while the protagonist in the original "Field of Boliauns" is male. The cover art depicts the story "Gilly", a wonderful retelling of "Guleesh" in which the "wee folk" trick a young boy into kidnapping the King of France's daughter to save her from a loveless marriage. Later in the story, when the princess is struck mute, Guleesh cares for her until he figures out a way to restore her speech, and they live happily ever after. Another story found here and in other works, is the story of "Finn, the biggest and bravest giant in all of Ireland." O'Brien simply titles her story, "Two Giants" and keeps the components of the original tale, "A Legend of Knockmany", in tact.
Bibliography:
DePaola, Tomie. Fin M'Coul: The Giant of Knockmany Hill. 1981. 32p. Holiday House. $20.00 (082340384x)
Tomie dePaola does not disappoint in his version of "A Legend of Knockmany." DePaola chooses to keep much of the original tale, while adding in details for clarification: "Oonagh then worked a charm the fairies had taught her. She took nine woolen threads, each a different color, and braided them into three braids...Now nothing she did could fail." The original Yeats version mentions the braids, but assumes the reader recognizes the braids as a fairy charm. DePaola does this throughout the book, keeping the story moving while explaining certain Irish customs or pagan beliefs. The colored ink illustrations are spot-on, with the careful attention to detail that gives the reader plenty to look at while enjoying the narrative. The art included in the page borders is inspired by Irish jewelry and other Celtic decorations.
Jacobs, Joseph. Celtic Fairy Tales. Project Gutenberg, Web. 4 February 2010.
The highlighted tales are examples of authentic tales that have been rewritten in today's English language.
I have inserted and highlighted titles of children's books below the Jacobs entry to show correlation.
(Includes the following tales:)
Tales for the Telling
Irish Cinderlad
Clever Tom / Tales for the Telling
Fin M'Coul / Tales for the Telling
This anthology is a collection of tales, told by several authors--one of which is Joseph Jacobs.
(Most of these tales are duplicated either in the Jacobs book or the Yeats work, therefore I will not provide a list of all of the entries.)
Yeats, W.B. Irish Fairy & Folk Tales. New York: Modern Library, 1994. Print
Yeats, W. B. Celtic Twilight. New York: Modern Library, N.d. Project Gutenberg. Web.
These works are examinations of the literature of Ireland Folklore. Originally published in 1918, Yeats organized this book into categories providing historical notes and following them with examples of the tales. I have inserted and highlighted titles of children's books below the Yeats category to show correlation between the original tale and the newer work.
(Includes the following categories:)
The Changelings
The Merrow
Solitary Fairies
(The King with Horse's Ears)
Ghosts
Kings, Queens
(The King with Horse's Ears)
The Changelings
Fairy Doctors
T'Yeer-Na-N-Oge
Saints
Priests
The Devil
Giants
(Fin / Tales for the Telling)
Earls, Robbers
Book Review Sources:
TWU Databases: EBSCO Academic Search Complete
Publishers Weekly Web Site
Kirkus Book Review Web Site
Research Summary:
Works Cited
Climo, Shirley, and Loretta Krupinski. The Irish Cinderlad. New York: HarperCollins, 1996. Print.
DePaola, Tomie. Fin M'Coul: The Giant of Knockmany Hill. New York: Holiday House, 1981. Print.
DePaola, Tomie. Jamie O'Rourke and the Big Potato: An Irish Folktale. New York, NY: Paperstar, 1997. Print.
Dooley, Patricia. "Fin M' Coul (Book Review)." School Library Journal 27.8 (1981): 111. Academic Search Complete. Web. 3 Apr. 2013.
Elleman, Barbara. Tomie dePaola: His Art and His Stories. New York: Putnam and Sons. 1999. Print.
Iarusso, Marilyn. "Preschool & Primary Grades: Nonfiction." School Library Journal 42.6 (1996): 114. Academic Search Complete. Web. 3 Apr. 2013.
Jacobs, Joseph. Celtic Fairy Tales. Project Gutenberg, Web. 4 February 2010.
Kirkus Book Review. "The Irish Cinderlad." 1 April 1996. Kirkus. web. 3 April 2013.
Kirkus Book Review. "Jamie O'Rourke and the Big Potato." 20 May 2010. Kirkus. web. 3 April 2013
Kirkus Book Review. "The King With Horse's Ears And Other Irish Folktales." 15 January 2009. Kirkus. web. 3 April 2013.
McGarry, Mary, Ed. Great Folk Tales of Old Ireland. New York: Bell Publishing Co., 1972. Print.
McKeown, Marie. "Irish Folklore: Traditional Beliefs and Superstitions." 22 August 2012. Hubpages. Web. 28 March 2013.
O'Brien, Edna, Michael Foreman, Arnoldo Mondadori, and Lawrence Edwards. Tales for the Telling: Irish Folk & Fairy Stories. New York: Atheneum, 1986. Print.
Peters, John. "Five Mighty Women." Teacher Librarian 37.4 (2010): 18. Academic Search Complete. Web. 3 Apr. 2013.
Roback, Diane, and Jennifer M. Brown. "Forecasts: Children's Books." Publishers Weekly 247.3 (2000): 55. Academic Search Complete. Web. 3 Apr. 2013.
Shute, Linda. Clever Tom and the Leprechaun: An Old Irish Story. New York: Lothrop, Lee & Shepard, 1988. Print.
Stephens, James, and Arthur Rackham. Irish Fairy Tales. New York: Macmillan, 1920. Print.
Tidman, Misti. "The King With Horse's Ears And Other Irish Folktales." School Library Journal 55.3 (2009): 161-162. Academic Search Complete. Web. 3 Apr. 2013.
Vasilakis, Nancy. "Tim O'toole And The Wee Folk." Horn Book Magazine 66.4 (1990): 445. Academic Search Complete. Web. 3 Apr. 2013.
Virginia M. J. Suhr, et al. "Clever Tom And The Leprechaun (Book)." School Library Journal 35.4 (1988): 102. Academic Search Complete. Web. 3 Apr. 2013.
World Book Online InfoFinder. Banshee. 2013. web. 3 April 2013.
—Bard. 2013. web. 3 April 2013.
—Fairy. 2013. web. 3 April 2013.
—"Leprechaun." 2013. World Book. web. 3 April 2013.
Yeats, W.B. Irish Fairy & Folk Tales. New York: Modern Library, 1994. Print.
Yeats, W. B. Celtic Twilight. New York: Modern Library, N.d. Project Gutenberg. Web.
Each book jacket image was downloaded from the cited review source, or from Amazon.com and then resized using
Corel Paint Shop Pro X4.
Tales from the Emerald Isle logo was created from my personal collection using Corel Paint Shop Pro X4 and provides a hyperlink to a county map that shows the counties mentioned in the tales of Ireland.